The third note of the scale of C. In French and in solfaing, Mi. The first string, or chanterelle, of the violin, and the 4th of the double bass, are tuned to E in their respective octaves. The scale of E major has 4 sharps in the signature; that of E minor I sharp; and C# and G are their relatives, minor and major. E is the key note of the ‘Phrygian’ mode in Gregorian music, and C (not B) its Dominant there

E is not a frequent key in orchestral compositions–probably from difficulties connected with the Clarinets, Horns, and Trumpets. At any rate neither Haydn, Mozart, Beethoven, Mendelssohn, Spohr, Schubert, or Schumann, have written a symphony in E major. The overtures to Fidelio and Midsummer Night's Dream, Deux Journées and Tannhäuser, are exceptions among overtures. In chamber music it is more often employed. Mozart has a fine pianoforte trio in it; Beethoven uses it in 2 sonatas (op. 14, No. 1; 109). Bach's fugue in E (Bk. 2) is perhaps the most widely known of all the immortal 48.

E flat (Fr. mi bémol; Germ. Es) on the other hand has a splendid progeny, of which we need only mention the Eroica Symphony, the Septet, the 5th Pianoforte Concerto, 2 solo sonatas, op. 31, No. 3, and ‘Lea Adieux,’ 2 string quartets, a pianoforte trio, and the ‘Liederkreis,’ among Beethoven's works alone; the St. Ann's fugue by Bach, with the noble Prelude which may or may not belong to it; Mozart's well-known Symphony; 2 of Haydn's ‘Salomon Set,’ etc., etc.